you’re connected, personally...vivaldi concerto in g major, rv 310, op. 3 no. 3 i allegro ii largo...

Macquarie Private Bank is a division of Macquarie Bank Limited AFSL and Australian Credit Licence 237502 (MBL). This information doesn’t take into account your objectives, financial situation or needs – please consider whether it’s right for you.

You’re connected, personallyAt Macquarie Private Bank you have the power of being connected, personally. You control your financial future, and we find your way there together.

Macquarie are proud to be a long-standing supporter and Principal Partner of the Brandenburg since 2007.

CONTENTS PAGE

Program

Messages & biographies

Musicians

Program notes

Timeline

With thanks

37

16193237Macquarie Private Bank is a division of Macquarie Bank Limited AFSL and Australian Credit Licence 237502 (MBL). This information

doesn’t take into account your objectives, financial situation or needs – please consider whether it’s right for you.

You’re connected, personallyAt Macquarie Private Bank you have the power of being connected, personally. You control your financial future, and we find your way there together.

Macquarie are proud to be a long-standing supporter and Principal Partner of the Brandenburg since 2007.

SERIES 01

Vivaldi’s VeniceDATES

Sydney City Recital Hall Wednesday 26 February 7:00 PM Friday 28 February 7:00 PM Saturday 29 February 2:00 PM (Matinee) Saturday 29 February 7:00 PM Wednesday 11 March 7:00 PM Friday 13 March 7:00 PM

Brisbane Queensland Performing Arts Centre Tuesday 3 March 7:30 PM

Melbourne Melbourne Recital Centre Thursday 5 March 7:00 PM Saturday 7 March 7:00 PM Sunday 8 March 5:00 PM

Concert duration approximately 100 minutes, including one interval. Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance.

This concert will be recorded for delayed broadcast on ABC Classic.

CHAIRMAN’S 11Proudly supporting our guest artists.

SERIES 01

Vivaldi’s VeniceARTISTS

Xavier de Maistre (France) harp Paul Dyer AO Artistic Director Australian Brandenburg Orchestra

PROGRAM

Vivaldi Sinfonia in C major from L’Olimpiade, RV 725 i Allegro ii Adagio iii Allegro

Vivaldi Concerto in D major, RV 93 i Allegro giusto ii Largo iii Allegro

Marcello Concerto in D minor, S D935 i Andante e spiccato ii Adagio iii Presto

Parish Alvars La Mandoline, Op. 84

Albinoni Sonata II a 5 in C major, Op. 2 No. 3 i Largo ii Allegro iii Grave iv Allegro

Vivaldi Concerto in G major, RV 310, Op. 3 No. 3 i Allegro ii Largo iii Allegro

Interval

Gregori* Concerto Grosso in D major, Op. 2 No. 2 i Grave ii Allegro iii Largo iv Allegro

Albinoni/Giazotto Adagio in G minor

Pescetti Sonata in C minor i Allegro ma non presto ii Moderato iii Presto

Vivaldi Concerto for Strings & Continuo in F major, RV 141 i Allegro molto ii Andante molto iii Allegro molto

Vivaldi L’inverno, Concerto in F minor, RV 297, Op. 8 No. 4 i Allegro non molto ii Largo iii Allegro

* Denotes Australian première

2 3AUSTRALIAN BRANDENBURG ORCHESTRA VIVALDI’S VENICE

Season 2020 The brilliant colours of Baroque

Call 1300 782 856 or visit brandenburg.com.au/season2020

JOIN THE BRANDENBURG FAMILY TODAY ADULT SUBSCRIPTION PACKAGES START FROM $181

SHAUN LEE-CHEN CONCERTMASTER

30 APR – 15 MAY

5–16 DEC

PROGRAM HIGHLIGHTS

Mozart Concerto for oboe in C major, K 314 W.F. Bach Adagio e Fuga, F 65 Mozart Concerto for basset clarinet in A major, K 622

PROGRAM

Filled with timeless carols including O Come All Ye Faithful, Stille Nacht and many musical surprises

PROGRAM HIGHLIGHTS

Bach Concerto for violin in E major, BWV 1042 Bach Concerto for three violins in D major, BWV 1064R Bach Orchestral Suite No. 3 in D major, BWV 1068

16–31 JUL

Mozart’s Clarinet

Noël! Noël!

Bach’s Violin

Mozart’s bright and achingly beautiful basset clarinet concerto performed on the rare and richly voiced instrument of the period.

Gather your family and friends together this Christmas and spend a joyous evening sharing rare carols, medieval hymns and a cheeky musical surprise.

Thrilling German Baroque violinist Jonas Zschenderlein joins Brandenburg string soloists to perform concertos, sonatas and a suite by Bach.

2–19 SEP

PROGRAM

Featuring music by French composers Campra, Lully, Rameau, Rebel and more.

PROGRAM

A pasticcio featuring Allegri, Boccherini, Lully, Marais, Telemann, and traditional music from Turkey.

Notre- Dame

22 OCT – 6 NOV

Ottoman Baroque

The rich musical tradition of Notre-Dame told in a theatrical concert experience entwining music for orchestra and choir with spoken word and song.

The mesmerising Whirling Dervishes are steeped in mystique and will return from Turkey to dazzle in Paul Dyer’s musical meditation.

PHOTO CREDIT: STEVEN GODBEE

FROM THE CO-FOUNDER & ARTISTIC DIRECTOR

Paul DyerThe beautiful northern Italian city of Venice is many things to many people.

To some it’s La Serenissima or the Queen of the Adriatic. To others it’s the City of Masks or the City of Bridges. To me it is the City of Antonio Vivaldi. This concert series explores the music of this great Venetian composer and many others who lived in the city or who were inspired by it.

Several years ago, on a late-night train journey from Rome to Salzburg to meet close friend and countertenor Andreas Scholl, I found myself with a couple of hours to kill in Venice. It was midnight on a Sunday. It was peak winter and it was very dark and there was nobody anywhere. I made my way by vaporetto through the maze of canals and bridges to St Mark’s Square to find a little bar to get a drink and cicchetti, the delicious snacks served in Venice. As I stepped out of the sleek timber boat and into the vast open space of St Mark’s Square, I realised that I was the only person in the ancient piazza. I looked up at the giant bell tower, to the basilica and the Doge’s Palace and wondered about all the people who had stood where I was standing. All those early travellers passing by the same Venetian Gothic architecture inspired by earlier Byzantine and Islamic travellers and travels. I wondered if Vivaldi or Albinoni had also been here alone at night and

if the distinct character of the square inspired elements of their music.

Many of the compositions you will hear in Vivaldi’s Venice are adaptions of works with solo parts written for other instruments such as the lute. The sound of Xavier’s harp brings new colours and textures to these works and the musicians have been thrilled to be able to work intensely with him for the last few weeks, and also on a rare work by Gregori that we discovered in our research and are excited to bring to you . Xavier is one of the world’s great harpists and is in extremely high demand across the globe. We became great friends in 2018, and I am delighted that Xavier has chosen to return to Australia to once more perform with the Orchestra.

Subscriptions to the Brandenburg’s 2020 season the Brilliant Colours of Baroque are still open, and I urge you to visit the website to see the musical menu we have on offer for you!

Paul Dyer AO Co-founder and Artistic Director Australian Brandenburg Orchestra


BIOGRAPHY

Paul Dyer

Paul Dyer is one of Australia’s leading specialists in period performance.

Paul co-founded the Brandenburg in 1989 after completing postgraduate studies at the Royal Conservatorium in The Hague, and has been Artistic Director and conductor since that time. He is a performing artist comfortable in his unique music arena – whether working in ancient music, contemporary music, opera, with artists such as circus performers, contemporary dance, or visual art. His busy performing schedule in Europe, Asia, the USA and Canada over the years has synchronised perfectly alongside his bold stage work in Australia.

Paul is an inspiring teacher and has been a staff member at various conservatories throughout the world. In 1995 he received a Churchill Fellowship and he has won numerous international and national awards for his CD recordings with the Australian Brandenburg Orchestra and Choir,

including the 1998, 2001, 2005, 2009 and 2010 ARIA Awards for Best Classical Album.

Paul has performed with many international soloists including Andreas Scholl, Cyndia Sieden, Marc Destrubé, Christoph Prégardien, Hidemi Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne Kenny, Emma Kirkby, Philippe Jaroussky and many others. In 1998 he made his debut in Tokyo with countertenor Derek Lee Ragin, leading an ensemble of Brandenburg soloists, and in August 2001 Paul toured the orchestra to Europe with guest soloist Andreas Scholl. In 2015, he was featured on the soundtrack of the James Bond 007 movie, Spectre.

A passionate cook, entertainer, foodie, teacher, swimmer and traveller, he is friends with people and artists from Istanbul to India and Japan to Italy, and creates a unique platform for overseas performing artists to work with him and the Brandenburg in Australia.

Among his list of achievements, Paul was awarded the Officer of the Order of Australia (AO) in 2013 for his ‘distinguished service to the performing arts in Australia’. Paul is Patron of St Gabriel’s School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Medal for his services to Australian society and the advancement of music, and in 2010 Paul was awarded the Sydney University Alumni Medal for Professional Achievement.

FROM OUR PRINCIPAL PARTNER: MACQUARIE GROUP

Connection & InspirationMacquarie is thrilled to welcome you to the Australian Brandenburg Orchestra’s opening concert series for 2020, Vivaldi’s Venice.

This concert series is particularly special, as we welcome Xavier de Maistre who returns to star as a soloist in Vivaldi’s Venice. Xavier de Maistre is renowned for connecting and inspiring audiences by redefining the boundaries of his craft. This approach has contributed to his reputation as one of the most creative and extraordinary musicians of his generation.

Macquarie is proud to be a long-standing supporter of 13 years and Principal Partner of the Brandenburg. What distinguishes this partnership is our shared passion for the highest standards of performance, underpinned by unique capabilities and expertise.

Highly regarded as one of the world’s finest period orchestras, the Brandenburg continues to scale ever higher peaks of artistic excellence, season after season. We are once again inspired by Artistic Director Paul Dyer’s ability to bring Baroque music and performance seamlessly into the modern world. In doing so, the Brandenburg excites and enchants audiences across the nation.

I hope you enjoy this wonderful performance and I look forward to welcoming you again throughout the Brandenburg’s exciting 2020 concert season.

Sean West Head of Wealth Management


BIOGRAPHY

Xavier de Maistre

Xavier de Maistre is one of today’s leading harpists and a profoundly creative musician.

As a fierce champion of his instrument, he has broadened the harp repertoire, commissioning new work from composers. He also creates transcriptions of important instrumental repertoire, and is the only harpist in the world to perform works such as Mozart’s Piano Concerto No. 19 in F major, K 459.

This musical vision has led him to work with conductors including Sir André Previn, Sir Simon Rattle, Riccardo Muti, Daniele Gatti, Philippe Jordan, Kristjan Järvi, Bertrand de Billy, Andrés Orozco-Estrada, Daniel Harding and Mirga Gražinytė-Tyla. He has been invited by orchestras such as Chicago, Montreal, City of Birmingham and Finnish Radio Symphony orchestras; London, St Petersburg and China Philharmonic orchestras; Tonhalle-Orchester Zürich, Mozarteum Orchester

Salzburg, Orquestra Sinfônica do Estado de São Paulo and Orchestre de la Suisse Romande. In his native France he has worked with Orchestre de Paris, the national orchestras of France and Lyon; the philharmonic orchestras of Radio France, Monte-Carlo, Montpellier, Lille and Nancy; and recitals in Paris and Lille operas, Lyon, Bordeaux, Nice, Poitiers and Avignon, among other places.

Parallel to his orchestral concerts, Xavier is passionate about chamber music and regularly puts together original recital projects. In 2019/20 he starts a new collaboration with tenor Rolando Villazón, with whom he will record a project of South American folk songs for Deutsche Grammophon over the coming season. They will perform in Moscow’s Zaryadye Hall, Oper Frankfurt, Rheingau Musik Festival, Vienna, Prague and a multi-city tour in Germany. Last season he worked with flamenco and castanet legend Lucero Tena in a programme of Spanish repertoire, touring Europe, Japan and China, performing in Hong Kong’s French May festival and releasing an album. He has also worked with Diana Damrau, Arabella Steinbacher, Daniel Müller-Schott, Baiba Skride, Antoine Tamestit, Mojca Erdmann, and Magali Mosnier.

As a soloist, he has been a frequent guest of many high-profile festivals, including Rheingau, Salzburger Festspielen, Wiener Festwochen,

BIOGRAPHY

Xavier de MaistreVerbier, Budapest Spring, Würzburg Mozartfest and Mostly Mozart in New York.

Xavier has been an exclusive Sony Music artist since 2008, when he recorded his first album, Nuit d’Etoiles, dedicated to Debussy, winning an Echo Klassik Award as Instrumentalist of the Year. Further releases included Hommage à Haydn (2009), Aranjuez (2010) and Notte Veneziana (2012), featuring significant Baroque repertoire. Recent releases have included a DVD of performances with Diana Damrau, his transcription of Mozart’s Piano Concerto No. 19 in F major, K 459, with Mozarteum Salzburg under the baton of Ivor Bolton, Moldau (2015), solo harp pieces by Slavic composers, and La Harpe Reine (2016) with Les Arts Florissants and William Christie.

Born in Toulon, Xavier studied the harp with Vassilia Briano at his local conservatoire, before perfecting his technique with Catherine Michel and Jacqueline Borot in Paris. He also studied in Sciences-Po Paris and then at the London School of Economics.In 1998 he was awarded First Prize (and two interpretation prizes) atthe prestigious USA International Harp Competition (Bloomington) and became, in the same year, the first French musician to be admitted at the Wiener Philharmoniker.

He has taught at Musikhochschule in Hamburg since 2001.

He plays on a Lyon & Healy instrument.

Xavier de Maistre is a virtuoso of the highest order, profoundly musical and capable of realising a remarkable range of nuance.GRAMOPHONE


“ What a fabulous magic night at the Brandenburg. Xavier was a pure angel.” SUBSCRIBER REVIEW THE HARPIST 2018


BIOGRAPHY

Australian Brandenburg Orchestra

Comprising leading specialists in informed performance practice from all over Australia, the Brandenburg performs using original edition scores and instruments of the period, breathing fresh life and vitality into Baroque and classical masterpieces – as though the music has just sprung from the composer’s pen.

The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical genius was central to the Baroque area. Celebrating their 30th Anniversary in 2019, the Brandenburg continues to deliver exhilarating performances.

The Australian Brandenburg Orchestra, led by charismatic Artistic Director Paul Dyer, celebrates the music of the sixteenth, seventeenth and eighteenth centuries with excellence, flair and joy.

BIOGRAPHY

Australian Brandenburg OrchestraThe Brandenburg has collaborated with such acclaimed and dynamic virtuosi as Andreas Scholl, Philippe Jaroussky, Kristian Bezuidenhout, Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, Genevieve Lacey, Andrew Manze and more.

Through its annual subscription series in Sydney and Melbourne, the Australian Brandenburg Orchestra performs before a live audience in excess of 58,000 people, and hundreds of thousands more through national broadcasts on ABC Classic FM. The Orchestra also has a regular commitment to performing in regional Australia. Since 2003 the Australian Brandenburg Orchestra has been a member of the Major Performing Arts Group, which comprises 28 flagship national arts organisations supported by the Australia Council for the Arts. The Orchestra began regular touring to Queensland in 2015.

Since its beginning, the Brandenburg has been popular with both audiences and critics. In 1998 The Age proclaimed the Brandenburg “had reached the ranks of the world’s best period instrument orchestras”. In 2010 the UK’s Gramophone Magazine declared “the Australian Brandenburg Orchestra is Australia’s finest period-instrument ensemble. Under their inspiring musical director Paul Dyer, their vibrant concerts and recordings combine historical integrity with electrifying virtuosity and a passion for beauty”.

The Australian proclaimed that “a concert with the Australian Brandenburg Orchestra is like stepping back in time, as the sounds of period instruments resurrect Baroque and classical works with reverence and authority”.

The Brandenburg’s 20 recordings with ABC Classics include five ARIA Award winners for Best Classical Album (1998, 2001, 2005, 2009 and 2010). In 2015 the Australian Brandenburg Orchestra was the recipient of the Sidney Myer Performing Arts Group Award and in 2016 the Helpmann Award for Best Chamber Concert.

Discover more at brandenburg.com.au

...what stands out at concert after concert is the impression that this bunch of musicians is having a really good time. They look at each other and smile and laugh... there’s a warmth and sense of fun not often associated with classical performance.SYDNEY MORNING HERALD


MUSICIANS

Australian Brandenburg OrchestraXavier de Maistre (France) harp Paul Dyer AO Artistic Director Australian Brandenburg Orchestra

* Denotes Brandenburg Core Musician 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff)

Harpsichord and Chamber Organ preparation by Joanna Butler Harp courtesy of Opera Australia Orchestra

BAROQUE VIOLIN

Shaun Lee-Chen* (Perth) Concertmaster Matt Bruce* (Sydney) Associate Concertmaster Ben Dollman* (Adelaide) Aaron Brown (Brisbane) Rafael Font (Sydney) Matthew Greco (Sydney)

BAROQUE VIOLA

Monique O’Dea1 (Sydney) Marianne Yeomans (Sydney)

BAROQUE CELLO

Anthea Cottee (Sydney) Rosemary Quinn (Sydney)

BAROQUE BASS

Rob Nairn* (Adelaide)

THEORBO / BAROQUE GUITAR

Tommie Andersson* (Sydney)

HARPSICHORD / CHAMBER ORGAN

Paul Dyer* (Sydney)

HARP – SOLOIST

Xavier de Maistre (France)

MUSICIANS

Australian Brandenburg Orchestra

TOMMIE ANDERSSONTheorbo / Baroque Guitar

PAUL DYERHarpsichord

MATT BRUCEBaroque Violin

SHAUN LEE-CHENBaroque Violin

BEN DOLLMANBaroque Violin

RAFAEL FONTBaroque Violin

AARON BROWNBaroque Violin

MATTHEW GRECOBaroque Violin

MONIQUE O’DEABaroque Viola

MARIANNE YEOMANSBaroque Viola

ANTHEA COTTEEBaroque Cello

ROSEMARY QUINNBaroque Cello

ROB NAIRNBaroque Bass


Episode Five – Life, and Harps, in Baroque Venice

With Xavier de Maistre returning to woo audiences in Vivaldi’s Venice, Dr Alan Maddox also returns to share the microphone with Hugh Ronzani. Together they take a look at life, and harps, in Venice during the affluence of the Baroque period

Dr Alan Maddox appears courtesy of The University of Sydney, Sydney Conservatorium of Music.

DISCOVER OUR PODCAST

Tales of Baroque

ALAN MADDOX HUGH RONZANI

Tales of Baroque will be released in our Keynotes e-Newsletter every six weeks. Sign up at brandenburg.com.au/keynotes


PROGRAM NOTES

Vivaldi’s Venice

19VIVALDI’S VENICE

PROGRAM NOTES

Vivaldi’s VeniceFrom the twelfth to the sixteenth century Venice had been one of the great trading centres of Europe, but by the eighteenth century its main trade was culture. Tourists were drawn from all over Europe to see the city’s art treasures, majestic churches and grand palazzos, to hear the magnificent displays of sound and pageantry at public festivals, and to attend the church services which contained so much music they were more like concerts than religious ceremonies. About 30,000 foreigners visited Venice every year, rowed in a gondola four kilometres across the lagoon, to the one hundred and eighteen islands which make up the city. (The connecting bridge was only built in 1933). Many visitors hired guides to accompany them through the maze of alleys, canals and bridges, and to protect them from armed bands of thieves and assassins who roamed the city at night. Time was different in Venice: the new year began on the 1st of March, so travellers might leave France or Germany in January 1723 but find themselves back in 1722 when they arrived. For the Venetians (along with most of Italy) the first hour of the day was the hour after the sun set – so midnight could be 4 o’clock, or 8 o’clock, depending on whether it was summer or winter. Unsuspecting travellers from English-speaking countries would have been further bamboozled by the use of the twenty-four-hour clock, and all would have

been taken aback by the sight of many people wearing masks. Mask-wearing was a centuries-old tradition, regulated by law. In the early eighteenth century masks could be worn for six months of the year, and nobles had to wear masks at state ceremonies and public events, and at the theatre.

Much of the best instrumental and choral music could be heard at the four ospedali, charitable institutions which cared for orphans and destitute children, and which each maintained all-female orchestras and choirs whose standard was equal to anything one could hear anywhere in Europe. Venetian composers were at the cutting edge of the new Italian style, at once impassioned and lyrical. Chief among them was Antonio Vivaldi, who revolutionised the concerto and changed the direction of instrumental music for generations to come.

PROGRAM NOTES

Vivaldi’s VeniceAntonio Vivaldi (1678–1741)

SINFONIA IN C MAJOR FROM L’OLIMPIADE, RV 725

Allegro Adagio Allegro

Vivaldi was one of the most successful opera composers in Italy in the first decades of the eighteenth century. His opera-composing career covered almost thirty years, and he spent long periods travelling throughout Italy staging his own operas. Like Handel, Vivaldi was very entrepreneurial.

L’Olimpiade dates from 1734, composed for the carnival season at the Teatro Sant’ Angelo in Venice, when Vivaldi was impresario of the theatre. This sinfonia, or short symphony, functioned as the overture. In this period the music of the overture did not directly relate to that of the opera to follow but set the mood more generally. Vivaldi builds excitement from the beginning with a typically vigorous first movement with its rushing semiquavers and signature rapid octave leaps, which struck his contemporaries as thrillingly innovative. A lyrical second movement leads to the typical dance-like third movement, which reminded the audience that the opera would, as usual, have a happy ending.

CONCERTO IN D MAJOR, RV 93

Allegro giusto Largo Allegro

Vivaldi was taught violin by his father, who played in the orchestra at the Basilica of San Marco and was also a barber and wig-maker. Vivaldi was ordained as a priest in 1703, and known thereafter as the Red Priest, probably because of the colour of his hair. He was not particularly pious: the priesthood was an accepted career path in Italy especially for someone who was keen to improve their social standing. After a year he gave up saying mass, claiming a debilitating chest complaint: ‘I almost always remain at home and go out only in a gondola or carriage, since my chest ailment prevents me from walking.’ It did not prevent him from maintaining a unique level of virtuosity on the violin, or from travelling throughout Italy, mounting his many operas to great acclaim. It also did not prevent him from working for the Pietà, most famous of the Venetian ospedali, where he was a violin teacher and then music director on and off for much of his working life, and for whom he wrote most of his over five hundred concertos. In 1723 the governors contracted him to compose two concertos a month, even when he was away from Venice, ‘in order to keep the … ensemble in as high repute as it has reached up to the present’.


PROGRAM NOTES

Vivaldi’s VeniceVivaldi probably wrote this particular concerto in 1730. He and his father had left Venice at the end of 1729 to travel to Vienna, where his new opera Argippo was being performed, and then on to Prague. While they were in Prague it is likely that Count Johann Joseph von Wrtby, the royal governor of Bohemia, commissioned this concerto and two trios for lute. As is the case for almost all of Vivaldi’s works, the intended performer is not known, although it could have been Count Wrtby himself as the lute was still a popular recreational instrument in that part of Europe.

WHAT TO LISTEN FOR

The Pietà girls and young women played a wide range of instruments, which Vivaldi used in all manner of unusual combinations and which helped develop his strong sense of tonal colour and texture. In this concerto he ensured that the soft-grained sound of the lute (here the harp) was not swamped by the more vibrant bowed strings. The fast outer movements are built around passages alternating between full orchestra and soloist, in a structure known as ritornello form which Vivaldi was the first composer to use extensively. In the soloist’s passages the orchestra drops right away, leaving the harp supported only by the continuo (bass instruments and harpsichord). The distinctive strumming rhythms of the first movement are followed by one of Vivaldi’s most exquisitely serene slow

movements, and the concerto ends with a lively dance-like Allegro.

Alessandro Marcello (1673–1747)

CONCERTO IN D MINOR, S D935

Andante e spiccato Adagio Presto

Alessandro Marcello came from a Venetian noble family, who counted a Doge painted by Titian among their ancestors and who had a palazzo on the Grand Canal. Venice in the eighteenth century was a highly stratified society, with all political, judicial and administrative power exercised directly by the small hereditary aristocracy. As an aristocrat Marcello was a member of the governing council, a diplomat, and a magistrate, but he could not be a professional musician as that was a career path open only to artisans, the lowest strata of Venetian society. Like many aristocrats Marcello was exceptionally well educated. He was a mathematics scholar, a skilled globe maker, and poet. He played the violin and collected musical instruments, and spoke seven languages. He was also expert in drawing and painted pictures for the family palaces in Venice and at their country villa, and for the ceiling of the Marcello parish church.

Marcello composed a number of concertos, violin sonatas, and cantatas for the finest singers of the day, including the castrato Farinelli and the celebrated soprano Faustina Bordoni who was Benedetto Marcello’s pupil.

PROGRAM NOTES

Vivaldi’s VeniceWHAT TO LISTEN FOR

This oboe concerto is the best known of Marcello’s compositions, but its provenance is unclear. For some time it was attributed to Vivaldi, or to Benedetto Marcello. It was published in Amsterdam in 1717, but it must have circulated earlier in manuscript, as JS Bach transcribed it in 1713 or 1714 for solo keyboard (BWV 974), along with a number of other Venetian concertos. It is especially famous for its melancholy slow movement. Although its melody could stand on its own, unornamented, it was part of eighteenth-century performance practice for the solo performer to elaborate the melody in such a way as to enhance the mood or affect.

Elias Parish Alvars (1808-1849)

LA MANDOLINE, OP. 84

This man is a magician. In his hands the harp becomes a siren, with lovely neck inclined and wild hair flowing, stirred by his passionate embrace to utter the music of another world.HECTOR BERLIOZ, AFTER HEARING PARISH ALVARS PLAY IN FRANKFURT

Parish Alvars was an English virtuoso harpist and composer for the harp. He was baptised Eli Parish in Devon where his father was a local organist, but at some time and for reasons

unknown he changed his name to Elias Parish Alvars, and all of his compositions were published under that name. At the age of twelve he began studying in London with the virtuoso harpist Nicolas-Charles Bochsa, whose colourful life ended in Sydney in 1855 (his elaborate tomb is in Camperdown Cemetery). From the early 1830s Parish Alvars based himself in Vienna, and embarked on the first of the many concert tours that he was to make throughout Europe. He travelled as far afield as St Petersburg, Moscow and Constantinople, where he played for the Sultan Mahmud II.

Parish Alvars was innovative in exploiting the many effects and harmonic capabilities of the new double-action pedal harp, developed in 1810 by French harp builder Sébastien Erard. The pedals meant that the instrument could be played in any key, a necessity for modern orchestral music. In 1842 Parish Alvars acquired the latest in double-action harps, the ‘Gothic’ model, larger, more strongly constructed, and with more strings than its predecessors. This inspired him to develop even more innovative techniques which used the instrument in an entirely new way, and for which he was greatly admired by his contemporaries including Mendelssohn and Liszt. A newspaper article from 1842 described him in the romantic terms popular in the period, focusing as much on his looks as his playing:


PROGRAM NOTES

Vivaldi’s Venice‘From beneath his prominent forehead speak his dreamy eyes, expressive of the glowing imagination which lives in his compositions.’ Berlioz was fascinated by him after hearing him play in Dresden in 1843, and in his music treatise on instruments and orchestration he described Parish Alvars as ‘the most extraordinary player’ ever heard.

WHAT TO LISTEN FOR

Most nineteenth-century solo harp music was intended for talented amateurs, but Parish Alvars composed for virtuosos like himself and many of his eighty works for solo harp are fiendishly difficult. His Grand Study in Imitation of the Mandoline, published in 1846, required the player to master many of his new techniques. One, in which the melody is played with the thumbs while fingers of both hands play an arpeggiated accompaniment, was known as the ‘three-handed technique’. This term was also used to describe a technique required to play piano compositions in this period and for the same reason - it gave the impression that three hands were playing. Another technique which Parish Alvars invented and which can be heard in the Mandoline was ‘bisbigliando’ (‘whispering’ in Italian), a special effect only possible on a double action pedal harp. This involves playing the same note very fast and softly alternately on adjacent strings, giving a shimmering or whispering effect.

Tomaso Albinoni (1671-1751)

SONATA II A 5 IN C MAJOR, OP. 2 NO. 3

Largo Allegro Grave Allegro

Albinoni is now recognised as a significant composer in the development of instrumental music, but he tended to be overshadowed in his own time and in posterity by his fellow Venetian Antonio Vivaldi, a more colourful character and assiduous self-promoter. Albinoni’s family owned several stationery shops and manufactured playing cards, and were sufficiently well-off that Albinoni never had to seek work as a professional musician. He had success early as an opera composer, his first opera being performed in 1694 when he was only twenty three, and by 1710 he was doing well enough financially from composing to renounce his share in the family business. He went on to compose at least eighty operas, nearly fifty cantatas, and close to two hundred instrumental works, which were extremely popular throughout Europe in his own time.

WHAT TO LISTEN FOR

This sonata was first published as part of Albinoni’s Opus Number 2 in 1700. He was inherently conservative as a composer and his music focuses on orchestral texture, the balance

PROGRAM NOTES

Vivaldi’s Venicebetween high and low instruments, and on the overall musical structure. Albinoni had little time for the work of other musicians and some of his compositions, such as the first two movements of this sonata, are astonishingly inventive, with fugal writing and imitation between the parts.

Antonio Vivaldi (1678–1741)

CONCERTO IN G MAJOR, RV 310, OP. 3 NO. 3

Allegro Largo Allegro

Vivaldi’s fame was cemented by the publication in 1711 of his Opus 3, a collection of twelve concertos entitled L’estro armonico (meaning ‘harmonic inspiration’). Their originality in terms of musical form and the sheer energy and vigour of Vivaldi’s style expressed in forceful rhythms and endless variety made them a model for concerto composition that was followed by other composers for years afterwards. The Vivaldi scholar Michael Talbot describes them as ‘perhaps the most influential collection of instrumental works to appear during the whole of the eighteenth century’. Bach transcribed six of the twelve concertos for other instruments, including this one (BWV 978) for two harpsichords.

WHAT TO LISTEN FOR

The first movement features a cheerful theme characterised by series of rising

scales played by the solo violin (here the harp). The second slow movement in a serious minor key is an extended solo, structured around strong chords played by full orchestra. Typically for Vivaldi, the third movement is a lively dance in triple time.

Giovanni Lorenzo Gregori (1663-1745)

CONCERTO GROSSO IN D MAJOR, OP. 2 NO. 2

Grave Allegro Largo Allegro

A composer, music theorist and violinist, Gregori came from Lucca, a walled city in Tuscany which was also the birthplace of Boccherini and Puccini. Gregori played violin in the orchestra of the ducal palace there for over fifty years.

WHAT TO LISTEN FOR

The concerto grosso was developed in the early eighteenth century. Gregori’s Opus 2 collection of concerti was published in 1698 and were early examples of the form, which used a small group of soloists, typically two violins and a cello, contrasted against the full orchestra. This concerto opens with an extended slow harpsichord introductory movement leading to a lively elegant rhythmic Allegro. A delicate Largo provides a link to a short brisk final movement.


PROGRAM NOTES

Vivaldi’s VeniceTomaso Albinoni/ Remo Giazotto (1910-1998)

ADAGIO IN G MINOR

Giazotto was an Italian musicologist who claimed to have discovered a fragment of the manuscript of an unknown Albinoni sonata in the state library in Dresden. He never allowed anyone to see the fragment and it was not recorded in the library’s catalogue, so there is considerable doubt as to whether it ever existed. Giazotto published the Adagio in 1958, under his own name and copyright, but maintained that it was a reconstruction of the Albinoni sonata’s slow movement. He later changed his story and said that the piece was entirely his, perhaps because by then it had become hugely successful commercially. Its simple melodic line and minor key wistfulness have made it very appealing as film music, and it has been used in countless movies, commercials, and television programs.

Giovanni Battista Pescetti (1704-1766)

SONATA IN C MINOR

Allegro ma non presto Moderato Presto

The world’s first public opera house opened in Venice in 1637, and by the early 1700s opera had become such a tourist attraction that there were nineteen theatres in operation. In fact, it is estimated that Venice offered more performances and new productions of opera than the other major Italian cities put together. The eighteenth-century opera-going public only wanted to hear new music, which meant Venetian theatres had to be continually supplied with new operas and which in turn provided local composers like Pescetti with regular employment. Vivaldi is known to have composed about fifty operas (although he claimed in a letter in 1739 that he had written ninety-four), but even a lesser known composer like Pescetti composed twenty-five.

In 1736 Pescetti travelled to London where he landed the plum job of director of the Opera of the Nobility in London, the company set up by the Prince of Wales in opposition to Handel’s Italian opera company. Unfortunately for Pescetti the company collapsed in 1737, but Pescetti stayed in London, working as a composer and contributing arias to pasticcio operas until 1745, when he returned to Venice.

PROGRAM NOTES

Vivaldi’s VeniceAfter many years he obtained an appointment as second organist at the Basilica of San Marco, but died just two years later.

The eighteenth-century English music historian Charles Burney heard Pescetti’s music in London and thought that he was ‘a very elegant and judicious writer for the voice’, and that ‘his melodies are extremely simple and graceful.’ However, he added, ‘his style was then too meagre and simple for our ears, which had been long accustomed to the rich food with which they had been fed by Handel’, an unfair comparison, given that Pescetti was a generation younger than Handel and that musical style overall had moved to greater harmonic simplicity.

WHAT TO LISTEN FOR

While in London Pescetti wrote a set of sonatas for harpsichord, published in 1739. It was common practice in the period to substitute one solo instrument for another, and here the harp takes the place of another plucked instrument, the harpsichord.

A sonata is an instrumental piece of music intended to be played by a solo instrument or small ensemble. In this work Pescetti conformed to the sonata structure prevailing at the time, with an extended first movement, followed by a slower second movement. The sonata concludes in typical fashion with a short final movement in the style of a lively gigue.

The Ospedale della Pietà in Venice (before the construction, at the beginning of the 19th century, of the facade of the church)


PROGRAM NOTES

Vivaldi’s VeniceAntonio Vivaldi (1678–1741)

CONCERTO FOR STRINGS & CONTINUO IN F MAJOR, RV 141

Allegro molto Andante molto Allegro molto

This short concerto is one of about sixty ‘ripieno’ concertos for strings which Vivaldi composed. ‘Ripieno’ means ‘full’ and refers to the fact that unlike most of the other Vivaldi concertos there was no separate part for a soloist, and all instruments of the orchestra play

together. As with most of the concertos it is not known for what context they were written or when.

WHAT TO LISTEN FOR

Not needing to build the movements around a soloist enabled Vivaldi to take a different compositional path. While the outer movements are still fast, they are both in two sections with each section repeated. Vivaldi’s second movements are usually his most lyrical and melodic, but here it is an elegant dance.

Sinfonia - First page from a manuscript copy of Vivaldi’s opera, L’Olimpiade, RV 725, dated c.1734

PROGRAM NOTES

Vivaldi’s VeniceL’INVERNO (WINTER), CONCERTO IN F MINOR, RV 297, OP. 8 NO. 4

The Four Seasons concertos were published in 1725 and in his own lifetime, as in ours, they were Vivaldi’s most popular work in part because of their astonishingly vivid depiction of the changing seasons and the relationship between nature and humanity.

The three movements of each concerto reflect events related to that season, as described in a three verse sonnet attached to the score of each concerto and probably written by Vivaldi himself. He marked the scores to indicate which musical passages represent which verse or in some places which line of the sonnet, and in some places he added more details to give, as he wrote, ‘a very clear statement of all the things that unfold’.

Although they were not his only representational music, that is, music which depicts scenes or sounds found in nature, the concertos were unique in the extent to which the music ‘narrates’ the specific details from the sonnets. Vivaldi achieved this in the fast movements by using recurring ritornellos (refrains) played by the full orchestra to set the scene, with transient events or sounds portrayed in short musical episodes usually by the soloist.

WHAT TO LISTEN FOR

The first movement begins with the instruments entering part by part, their

single, steady repeated notes conjuring frozen travellers fighting their way through the snow. The first episode from the soloist represents the biting wind, and the full orchestra returns, still trudging in the cold but now stopping to stamp their feet. The soloist reappears in flurries of snow, which the orchestra interrupts with gusts of bitterly cold wind. Fast repeated notes from the violins and soloist represent the chattering of teeth, and the movement ends with the travellers stamping the snow from their feet once more before finding warmth before the fire in the second movement. The change to a comforting major key and plucked strings representing the rain falling outside on a cold winter afternoon make this one of Vivaldi’s most beautiful slow movements. Back to the harsh minor key for the third movement which begins with the soloist alone on the ice. The orchestra joins, and as they walk ‘slowly and fearfully’ (the bouncing of bows on strings suggests hearts beating faster) the music rises in pitch until everyone suddenly falls onto the ice in a series of descending passages. Vivaldi depicts every twist and turn as they try to regain their balance, the soloist being the last one to fall.

The final section of the movement predicts the arrival of spring with the warm Sirocco wind, but it is driven back by the warring winds of winter in a thrilling conclusion to the concerto.


PROGRAM NOTES

Vivaldi’s VeniceI ALLEGRO NON MOLTO

Agghiacciato tremar tra nevi algenti Al severo spirar d’orrido vento, Correr battendo i piedi ogni momento; E pel soverchio gel battere i denti;

II LARGO

Passar al foco i dì quieti e contenti Mentre la pioggia fuor bagna ben cento

III ALLEGRO

Camminar sopra il ghiaccio, e à passo lento per timor di cader girsene intenti; Gir forte, sdrucciolar, cader a terra, Di nuove ir sopra il ghiaccio e correr forte

Sin ch’il ghiaccio si rompe, e si disserra; Sentir uscir dalle serrate porte Sirocco, Borea, e tutti i Venti in guerra Quest’ è ’l verno, ma tal, che gioia apporte.

Frozen, shivering in the icy snow at the cutting breath of the dreadful wind, run, stamping your feet all the time, the extreme cold making your teeth chatter;

Pass quiet and contented days by the fire while the rain pours down outside;

Walk on the ice with careful slow steps for fear of falling or tripping on it; turn suddenly, slipping and falling to the ground; walk onto the ice again and running heavily

until the ice cracks and breaks; hear Sirocco, Boreas, and all the warring winds as they whistle through closed doors: This is winter, but it brings joy.

Program notes, translations & timeline © Lynne Murray 2020

PROGRAM NOTES

Vivaldi’s Venice

Canaletto - The Grand Canal near the Ponte di Rialto, 1725


TIMELINE

Vivaldi’s Venice

Vivaldi Other Composers & Contemporary Events1663 1663 Gregori born in Lucca; Vermeer paints Young Woman with a Water Jug

1671 1671 Albinoni born in Venice; Paris Opera opens

1673 1673 Marcello born in Venice; French writer Molière dies in Paris

1678 Born in Venice 1678 First woman awarded a university degree, a doctorate from the University of Padua

1685 Father joins orchestra at St Mark’s Basilica, Venice 1685 Handel born in Halle; JS Bach born in Eisenach

1698 1698 Gregori’s Concerti grossi published

1700 Becomes a deacon 1700 Albinoni’s Opus 2 published in Venice

1703 Ordained as a priest; appointed violin teacher at the Pietà girls’ orphanage in Venice 1703 Earthquake in Norcia, central Italy; up to 9,000 dead estimated

1704 Receives a raise in salary from the Pietà 1704 Giovanni Pescetti born in Venice; Handel almost killed in a duel in Hamburg

1711 L’estro armonico set of concertos published 1711 Handel’s first opera in London, Rinaldo, premières

1713 First opera performed, in Vicenza 1713 JS Bach transcribes Vivaldi and Marcello concertos for harpsichord

1714 Becomes impresario & composer at S. Angelo opera theatre, Venice 1714 The Ottoman Empire declares war on the Venetian Republic

1717 Leaves the Pietà 1717 Marcello’s oboe concerto published

1718 In Mantua as music director to Prince Philip of Hesse-Darmstadt 1718 English pirate Blackbeard blockades Charleston, South Carolina

1720 Returns to Venice 1720 First cafe in Europe, Caffè Florian, opens in the Piazza San Marco, Venice

1723 Contracted by the Pietà to produce two concertos a month 1723 JS Bach appointed cantor at Thomaskirche in Leipzig

1725 Four Seasons published 1725 Canaletto paints The Grand Canal near the Ponte di Rialto

1730 Travels to Prague, composes concerto RV 93 1730 JS Bach composes motet Jauchzet Gott, BWV 51

1734 Composes opera L’Olimpiade for Venice 1734 Lutherans expelled from Salzburg set sail for America

TIMELINE

Vivaldi’s Venice


TIMELINE

Vivaldi’s Venice

Vivaldi Other Composers & Contemporary Events1736 Re-hired by Pietà as maestro di concerti 1736 Pescetti appointed director of the Opera of the Nobility in London

1739 Feraspe, Vivaldi’s last known opera, performed in Venice 1739 Pescetti publishes his keyboard sonatas in London

1740 Leaves for Vienna 1740 Frederick the Great of Prussia comes to power

1741 Dies in poverty in Vienna 1741 JS Bach composes the Goldberg Variations, BWV 988

1745 1745Pescetti leaves London and returns to Venice due to Jacobite rising in Scotland; Gregori dies in Lucca

1747 1747 Marcello dies in Venice

1751 1751 Albinoni dies in Venice

1756 1756 Mozart born in Salzburg

1762 1762Pescetti appointed second organist at the Basilica of San Marco in Venice; Gluck’s opera Orfeo ed Euridice premieres in Vienna

1765 1765 Pescetti gives lessons to recently-orphaned teenager Antonio Salieri

1766 1766 Pescetti dies in Venice; Mozart family returns to Salzburg after European tour

1808 1808 Parish Alvars born in Devon; Governor Bligh overthrown in Rum Rebellion in Sydney

1832 1832 Parish Alvars performs for Sultan Mahmud II in Constantinople

1836 1836Parish Alvars appointed solo harp at Vienna Opera; Donizetti’s L’Elisir d’amore premieres in Milan

1843 1843Berlioz hears Parish Alvars play in Dresden; Charles Dickens’ A Christmas Carol published in London

1849 1849Parish Alvars dies in Vienna; Edmund Barton, first Prime Minister of Australia, born in Glebe

TIMELINE

Vivaldi’s Venice


The Australian Brandenburg Orchestra‘s 5th Annual Gala Dinner will be held on Thursday 28 May 2020 at Metropolis, Melbourne.

Join us for an evening of exquisite food and wine and exceptional music as we celebrate the continued growth of Australia’s national Baroque orchestra.

A chamber group of musicians from the Orchestra led by Paul Dyer AO, Artistic Director and Conductor, will charm with beautiful Baroque masterpieces during the evening and guests will have the chance to meet Paul and the musicians after their performances.

FOR MORE INFORMATION ON THIS SPECIAL EVENT:Visit: brandenburg.com.au/2020gala Email: [email protected] Call: 1300 782 856

This fundraising event directly supports the work of the Orchestra, ensuring we can continue to share Baroque music with audiences across Australia.

WITH THANKS

Our PartnersPRINCIPAL

GOVERNMENT

MAJOR

SUPPORTING

PRESENTING SUPPORTING

Australian Brandenburg Orchestra is assisted by the Australian Government through the Australia

Council, its arts funding and advisory body

Australian Brandenburg Orchestra is supported by the NSW Government through Create NSW

MEDIA

CORPORATE CIRCLE

TRUSTS AND FOUNDATIONS

To find out more about becoming a partner of the Australian Brandenburg Orchestra please contact our Development Team on 1300 782 856 or [email protected]

INVESTA PROPERTY GROUP VINCENT YOUNG

37VIVALDI’S VENICE

WITH THANKS

Our DonorsA heartfelt thank you to our generous family of supporters.

“ Thanks to the tremendous generosity of you and your fellow Brandenburg supporters, we have established nothing short of cultural excellence as Australia’s national Baroque orchestra for more than 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring audiences and sharing our music with you for many more years to come.”

Paul Dyer AO Artistic Director Bruce Applebaum Managing Director

LIFE PATRONS

Mary Holt and the late Dr John Holt

CHRISTINA $10,000 OR ABOVE

Anthony Adair and Karen McLeod Adair Antoinette Albert+ Aidan Allen Stephen and Sophie Allen Graham Bradley AM and Charlene Bradley Jillian Broadbent AC Dr Catherine Brown-Watt PSM and Mr Derek Watt+ Louise Christie Roxane Clayton+ Jane and David Duncan Michael Ebeid AM and Roland Howlett John and Jenny Fast Carol Haynes and Skipp Williamson^ Mary Holt and the late Dr John Holt Mrs W. G. Keighley in memory of Geoffrey Mick and Lyndall McCormack Jacqui and John Mullen John and Joanne Pickhaver Lady Potter AC CMRI Dr David and Dr Gillian Ritchie Rodwell Foundation Rowan Ross AM and Annie Ross Jeanne-Claude Strong in memory of James Strong Peter Weiss AO+ Sally and Geoffrey White+ Cameron Williams Anonymous

RUSPOLI $5,000 - $9,999

Andrew and Melanie Baigent Glenn Barnes Mrs Ros Bracher AM David and Leith Bruce-Steer+ Wayne Burns and Kean Onn See Jim Cousins AO and Libby Cousins The Faithfull Family John Forsyth and Ann Verschuer Ann Gordon* Susan Hilliard Jenny and Peter Hordern Katie Lahey AM and Robert Marriott Greg Livingstone J and R MacLeod Dr Diana Marks and Dennis Bluth The Hon Jane Mathews AO Richard and Rowena McDonald^ Rohan Mead Hugh Morgan AC and Elizabeth Morgan^ Rointon Nugara and Brendan Nugent In memory of Jenny Parramore Pip Smith The Stirling Family^ Mark and Debra Taylor Greg Ward+ Sheryl Weil Dr Jason Wenderoth Ray Wilson OAM in memory of James Agapitos OAM Peter and Jenny Wohl Anonymous

DURAZZO $1,000 - $4,999

Janet Abernethy and Richard Willis Paula and Alex Adamovich Richard Adams J M Alroe Brett Andersen and Brad Bowen

John and Robyn Armstrong Ian Baker and Cheryl Saunders Peter Barclay Admiral Christopher Barrie AC and Mrs Maxine Barrie Frederic Baudry and Paul Bailey Caroline Brand^ Keith and Louise Brodie Diana Brookes Kay Buckeridge Henry Burmester and Peter Mason Elizabeth Butcher AM Ita Buttrose AO OBE Robin Campbell Dr Beverley and Mr Alan Castleman Bella Church Mr Peter Clark and Mrs Jan Clark Rebecca and Craig Clarke Bernard Coles QC Emeritus Professor Martin Comte OAM Frank and Jan Conroy* Professor Geoffrey N Cooper Dom Cottam and Kanako Imamura Toula and Nicholas Cowell^ Tim and Bryony Cox Chum Darvall AM David Davies and Paul Presa Margaret and Chris de Guingand Emeritus Professor Dexter Dunphy AM Ralph and Maria Evans Rosemary Farrow Wendy and Ron Feiner Nancy Fox and Bruce Arnold Barbara and Malcolm France Brian and Philippa France Eleanor Freeman Carrillo and Ziyin Gantner Justin and Anne Gardener Christine George

WITH THANKS

Our DonorsSir James Gobbo Bill and Julie Goold Richard and Anna Green Ken Groves and Yun-sik Jang Michael Halliday Bruce and Jo Hambrett Jane Hemstritch Dr Ailsa Hocking and Dr Bernard Williams Carr and Ann Hordern J L Hossack Jill and David Hunt Belinda Hutchinson AM* Dr Alastair Jackson AM Gayl Jenkins & Chris Pellegrinetti Jim & Kim Jobson Nuala and Ajit Kamath Helen Keir The Hon Rod Kemp and Mrs Daniele Kemp Liana Kestelman Lizanne and Julian Knights AO^ Anna and Richard Kopinski A Koumoukelis Family Mr John Lamble AO John & Anne Lawson A le Marchant Harvey and Janette Lewis Richard and Elizabeth Longes Glenice & James Maclellan^ Aggie Maisano Morris and Helen Margolis Joanna B Maxwell Mora Maxwell Peter McGrath Judith A McKernan Professor Roy and Doctor Kimberley MacLeod Fiona Mellor and Scott Tanner^ Elizabeth Mildwater John Milhinch OAM John Mitchell Mrs June Musgrove in memory of Dr Peter Musgrove Robert Niall and Dr Jill Sewell AM Dr Paul Nisselle AM and Mrs Sue Nisselle^ Rosemary and James O’Collins Mrs Roslyn Packer AC Trevor J Parkin

Remembering Tom and Jenny Parramore Christina Pender Professor David Penington AC WJ and R Poate Joan Poulton Ted and Jean Radford Wayne Redman Patricia H Reid Endowment Pty Ltd Mr Paul Rein Alexander and Rosemary Roche Lois Roffey Sylvia Rosenblum Justice Ronald Sackville AO and Mrs Pamela Sackville Alison Savage Tony Schlosser John Scott Dr Celina Seeto Dr Gideon and Mrs Barbara Shaw Paul Sheehan and Susan Wyndham Mr Charlie Shuetrim AM and Mrs Sandra Shuetrim Dr Agnes Sinclair Robyn Smiles Alan and Jennifer Smith Chris and Bea Sochan Mrs Beverley Southern# Brendan Sowry Dr Murray and Mrs Joy Stapleton Charles Such Chee Ling Tan^ Mr Mike Thompson Mrs C and Mr P Vaughan-Reid Judith Williams Michael and Caroline Williams Dr Peter C Wilton Dr David Wood and Mr Gary Fung K A Wratten David Zehner Anonymous x 18

SUPPORTER I $500 - $999

Priscilla Adey Philip Bacon AM Q Bryce Shane Buggle & Rosie Callanan Jenny and Henry Burger David and Louise Byrne JM & MA Cameron Professor Dianne Campbell

Tony Cardamone David Castillo and Marian Magee Marianne Cochrane Cooper Family Chris and Trudy Coote Michael Crawcour Dr John Dale AO and Mrs Joan Dale Deborah Debnam Anne and Jennifer Dineen Margaret Dobbin Jane Edmanson OAM Elisabeth and Grahame Elder Helen Fleming Peter Fletcher AM and Kate Fletcher Peta Forster and Mark Anderson Deborah Fox and Harald Jahrling Rosie Freeman Valmae Freilich Richard and Heather Gorrell Philip and Anabel Gosse Carole A. P. Grace Peter and Deirdre Graham Sandra Haslam Frank Hemmings In memory of Armon Hicks Jnr Geoff Hogbin Ian and Suzanne Holden Simon and Katrina Holmes à Court Lynne Jensen^ Irene Kearsey and Michael Ridley Philippa Kearsley Pamela Kenny in memory of Peter* Nicholas Korner Marcel and Mimi Kreis^ Mira Levy Anne Loveridge & Graeme Foster Wendy E McCarthy AO Janet McCredie Ross McNair and Robin Richardson Dr David Millons AM and Mrs Barbara Millons Dr Kerry Mills and Di Pease Peter Miszalski Niq Morcos & Morgaine Williams Anne Murphy Cruise John and Susan Myatt Andrew Naylor Brendan O’Connell E. K. Palmer Dr Kevin Pedemont


WITH THANKS

Our DonorsJohn Peisley and Ros Royal Dr John Percy Helen Perlen Jim and Chris Pollitt Peter and Karen Reid Peter Rush Marysia Segan Jeannette Sharpe Jann Skinner Margot Smith Sue Thomson Mr Frank Tisher OAM and Dr Miriam Tisher Jane, remembering Harris van Beek Margot Vaughan Ronald Walledge Dr J and A Whaite Dr. Anthony Williams Richard & Lale Williamson Gregory W Won Anonymous x 23

SUPPORTER II $250 - $499

Kay Anderson Philippa and John Armfield Jaci Armstrong Carole Bailey Joan and Jeff Barcham Jean Birrell Gordon and Barbara Black Professor Fran Boyle AM Robert Bradshaw Catherine Broady Dr Roderick Brooks and Ms Carol Shaw Nerida Bryce Axel and Alexandra Buchner

Dr Christopher Buckley Kerin Carr Dr S Cherian Christine Clough Jean Cockayne Miles Coolican Mr Charles P. Curran AC Anthony Darcy Janet Doust Kerri Eager Rita Erlich Bronwyn Evans and Peter Gordon Mrs Kay Fell Marguerite Foxon* Janine Francis Dr Mark Garwood and Mrs Elizabeth Garwood Judith Gibson Trish Goodman Late H. E. Gower Dr Stéphane Hemmerter in memory of Gérard Hemmerter Stephen Hider In Loving Memory of Dean Huddlestone John Hughes Nicola and Ian Jackman Michael Jones Hilary Kelman Joshua Kim and Richard House Alasdair King Dr Jerry Koliha and Ms Marlene Krelle L. Krienbuhl Julie Laforest Dr Micheline Lane Anne Latreille

Geoff Lavender and Elizabeth A. Lavender Vicki and Adam Liberman Mrs Iris Luke in Memory of Dr Clifton Luke Elizabeth Mackenzie and Michael Bremner Richard Masiulanis Peter McCall Janet McDonald AO and Donald McDonald AC Ms Judith McDonald Phillippa and Colin McLachlan Beatrice Moignard A & K Molino Collin Myers AM and Marilyn Myers Myles Neri Evan Petrelis Nella Pinkerton Ken Ramshaw Fiona Reynolds Leslie and Jennifer Rosen Michael Roset and Christine Paull Professor Steve and Dr Sharon Schach* Elizabeth Scott Reeva Segal Natalie & Tanya Stoianoff George Szonyi Anthony Tarleton Mrs Anne E Thomas Caroline Thornton Amanda Trenaman and Steven Turner S Walker Janice Windsor and David Brazier Anonymous x 46

* Donors to the Brandenburg International Baroque Study Program # Donors to the Brandenburg Instrument Fund + Donors to the 30th Anniversary Book ^ Donors to the New Works Circle

This donor list is current for a 12-month period to 24 January 2020. Supporter III donations are acknowledged at donations.brandenburg.com.au

If the Brandenburg has enriched your life or if you would like to deepen your involvement with us, we would be thrilled to welcome you into our valued family of supporters.

To find out more, or to make a donation, please get in touch with our Development Team. Phone 1300 782 856 | Email [email protected] Visit donations.brandenburg.com.au

WITH THANKS

Our DonorsORCHESTRAL CHAIRS

Artistic Director supported by Mick and Lyndall McCormack

Concertmaster Chair supported by Jacqui and John Mullen

Principal Baroque Cello Chair supported by Mrs W. G. Keighley

Principal Theorbo / Baroque Guitar Chair supported by The Alexandra and Lloyd Martin Family Foundation and friends, in memory of Lloyd Martin AM

Principal Baroque Flute / Recorder Chair supported by Robyn Martin-Weber and Victoria Taylor

PLANNED GIVING

BEQUEST The Australian Brandenburg Orchestra warmly acknowledges the bequest it has received from the Estate of Valda Astrida Siksna.

PLAY ON: A LASTING LEGACY We are hugely appreciative to all those who have pledged a bequest to the Brandenburg.

R. Cook Professor Geoffrey N Cooper Janet Doust The Faithfull Family Brian and Leonie Fisher R J Irwin Lilly K Peter McGrath Penelope Oerlemans Joan and Lloyd Poulton Art and Cynthia Raiche Anonymous x 15

CHAIRMAN’S 11

Dedicated to the memory of James Strong AO.

Chairman’s 11 supports the Brandenburg’s international and local guest artists.

Roxane Clayton Richard Fisher AM and Diana Fisher Chris and Gina Grubb Carol Haynes and Skipp Williamson Mrs W. G. Keighley for Geoffrey Susan Maple-Brown AM Alison Park in loving memory of Richard Park Anonymous

BRADENBURG OPERA CIRCLE

The following donors have supported the establishment of the Brandenburg Opera Circle, enabling the Orchestra to expand its repertoire into the world of baroque opera, as well as nurturing young opera singers and creative teams.

Toula and Nicholas Cowell Wendy and Ron Feiner Deborah Fox and Harald Jahrling Justin and Anne Gardener Irene and John Garran Ken Groves and Yun-sik Jang Mary Holt and the late Dr John Holt A le Marchant Peter McGrath Dr Agnes Sinclair Victoria Taylor Greg Ward Ray Wilson OAM in memory of James Agapitos OAM Christine Yip and Paul Brady Anonymous x 2

BRANDENBURG FOUNDATION DONORS

AMATI $250,000 – $500,000 The Eileen Marie Dyer AM Fund Anonymous

STRADIVARI $100,000 – $249,999 Cary and Rob Gillespie Anonymous

GUARNERI $50,000 – $99,999 Chris and Kathy Harrop Macquarie Group Foundation The Martin Family in memory of Lloyd Martin AM Christine Yip and Paul Brady Anonymous

MAESTRI $25,000 – $49,999 John and Robyn Armstrong Greg Hutchinson AM and Lynda Hutchinson Nick and Caroline Minogue Rowan Ross AM and Annie Ross David and Rachel Zehner

ARCANGELI $15,000 – $24,999 Mr David Baffsky AO and Mrs Helen Baffsky Melinda Conrad and David Jones Glenn Moss and the late Dr Ken Moss AM

CAMERATA $10,000 – $14,999 Graham Bradley AM and Charlene Bradley The Clayton Family Norman Gillespie Rohan Mead

CORPORATE DONORS

APA Group Bain & Company Centre for Corporate Public Affairs Elwyn Consulting Gilbert + TobinLink GroupMacquarie GroupPacific Equity PartnersThe Lancemore Group Toll Group


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2020 Canberra International Music Festival

with Genevieve Jacobs 01–05 May 2020 (5 days)Spend five days at the Canberra International Music Festival, under the theme of ‘Giving Voice,’ with fine performances by leading musicians from Australia and abroad.

Music in the Mountains

The Verbier, Bregenz and Tyrolean Festivals with Christopher Lawrence 16–27 July 2020 (12 days)Experience breathtaking music and scenery at the best of Europe’s summer music festivals in Switzerland and Austria, surrounded by pristine alpine beauty.

Australian Festival of Chamber Music

with Mary Jo Capps 31 July – 04 August 2020 (5 days)Attend the 30th annual internationally-acclaimed Australian Festival of Chamber Music in picturesque Townsville, featuring some of the finest international and Australian musicians.

Scandinavian Serenade

Copenhagen, Oslo, Stockholm and Hamburg with Mary Jo Capps 19 May – 01 June 2020 (14 days)Enjoy a Scandinavian spring bursting with superb operatic and music performances in the cities of Copenhagen, Stockholm and Oslo.

For detailed information visit renaissancetours.com.au or call 1300 727 095.

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WITH THANKS

Credits

ARTISTIC DIRECTORPaul Dyer AO

MANAGING DIRECTORBruce Applebaum

THE BRANDENBURG COUNCILJillian Broadbent AC Greg Hutchinson AM Max Suich

THE BOARDDavid Zehner, Chairman Alison Harrop, Deputy Chair Aidan Allen Bruce Applebaum David Baffsky AO Paul Dyer AO

John C Fast Susan Hilliard Glenice Maclellan John Pickhaver Sheryl Weil

HEAD OF MARKETING & CUSTOMER RELATIONSTom Morgan

MARKETING MANAGERShiki Chan

CUSTOMER RELATIONS MANAGERKateryna Collier

BUSINESS SYSTEMS ANALYSTThomas Chiu

ASSISTANT BOX OFFICE MANAGERNastassia Laptev

RECEPTIONIST/TICKETING ASSISTANTEwelina Ellsmore

HEAD OF ARTISTIC PLANNING & MANAGEMENTAshley Giles

ORCHESTRA MANAGERValérie Morgan-Pertus

ARTISTIC PLANNING COORDINATORJoanna Butler

MUSIC RESOURCESHugh Ronzani

HEAD OF DEVELOPMENTAislinn Giugni

PHILANTHROPY MANAGERAndrew Brook

PHILANTHROPY & EVENTS MANAGERFreya McGahey

CORPORATE PARTNERSHIPS MANAGERMadeline O’Dwyer

HEAD OF BUSINESS OPERATIONSIan Creevey

EXECUTIVE ASSISTANTSusan Duffy

ACCOUNTANTJohn Scott

AUDITORSBDO East Coast Partnership

REPERTOIRE ADVISORS (HONORARY)Charles Gwynn Andrew O’Connor Christopher Price

PRE-CONCERT TALKSDr Alan Maddox*

* Dr Alan Maddox appears courtesy of the Sydney Conservatorium Of Music, The University of Sydney (Staff)

PATRONHis Excellency General the Honourable David Hurley AC DSC (Retd), Governor-General of the Commonwealth of Australia

Her Excellency the Honourable Margaret Beazley AO QC, Governor of New South Wales

Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183 Address Level 1, 247 Coward Street, Mascot NSW 2020 | Post GPO Box 4416, Sydney NSW 2001 Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email [email protected]

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PARIS – MELBOURNE – SYDNEY – LONDON – NEW YORK – BEIJING – BALI

Live the French way

44 AUSTRALIAN BRANDENBURG ORCHESTRA

WITH THANKS

VenuesCITY RECITAL HALL

CEOElaine Chia

BOARD OF DIRECTORSRenata Kaldor AO (Chair) Timothy Cox AO (Deputy Chair) David Albert Helen Bauer Rachel Launders Paul Mason Marcus McArdle Carol Mills Jennie Sager

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MELBOURNE RECITAL CENTRE

BOARD OF DIRECTORSProf Andrea Hull AO (Chair) Peter Bartlett Stephen Carpenter Deborah Cheetham AO Joseph Corponi The Hon Mary Delahunty Paul Donnelly Assoc Prof Jody Evans Margaret Farren-Price Eda Ritchie AM Audrey Zibelman

FOUNDING PATRONThe Late Dame Elisabeth Murdoch AC DBE

EXECUTIVE STAFFEuan Murdoch Chief Executive Officer Jasja van Andel Head of Operations Sarah MacPherson Director of Corporate Services Marshall McGuire Director of Programming Robert Murray Director of Marketing & Customer Relations Sandra Robertson Director of Development

Corner Southbank Boulevard and Sturt Street Southbank VIC 3006

BOX OFFICE03 9699 3333

FACSIMILE03 9207 2662

WEBSITEmelbournerecital.com.au

QPAC

CHAIRProfessor Peter Coaldrake AO

DEPUTY CHAIRLeigh Tabrett PSM

TRUST MEMBERSDr Sally Pitkin Dare Power Georgina Richters Susan Rix AM Leanne de Souza

CHIEF EXECUTIVEJohn Kotzas

PO Box 3567, South Bank, Queensland 4101

TELEPHONE(07) 3840 7444

WEBSITEqpac.com.au

The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts Director-General, Department of Environment and Science: Jamie Merrick. QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging. Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

Australian Unity Retirement Living Services Limited, ACN 085 317 595, January 2020.

Where you’ll love the views but live for the location

Live a connected inner-city lifestyle at The Grace. South Melbourne, the city, the Arts Centre and South Yarra dining and retail are

moments away. At The Grace, you won’t just live the Melbourne life, you’ll live your best life. World-class retirement apartments now selling.

Call 0477 775 786 or visit thegracealbertparklake.com.au

46 AUSTRALIAN BRANDENBURG ORCHESTRA

Do you need distinctive entertaining experiences for your clients, executives or staff?Cultivate important client relationships and connect with like-minded supporters at our unique and memorable concerts and events.

FOR MORE INFORMATION PLEASE CONTACT OUR DEVELOPMENT TEAM:

Email: [email protected] Call: 1300 782 856

Mozart’s bright and achingly beautiful basset clarinet concerto performed on the rare and richly voiced instrument of the period.

BOOK NOW

brandenburg.com.au

MELBOURNE 30 APRIL – 3 MAY 2020 SYDNEY 6–15 MAY 2020 PARRAMATTA 14 MAY 2020

STARRING SOLOISTS: CRAIG HILL (AUSTRALIA) BASSET CLARINET EMMA BLACK (AUSTRIA) CLASSICAL OBOE

PHOTO CREDIT: JAMES BRAUND

you’re connected, personally...vivaldi concerto in g major, rv 310, op. 3 no. 3 i allegro ii largo...

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